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Thanks for reading.http://jazzandblues.blogspot.com/noreply@blogger.com (Tim Niland)Blogger3211125tag:blogger.com,1999:blog-5830909.post-5323047095045254553Mon, 30 Mar 2015 18:14:00 +00002015-03-30T14:14:47.928-04:00Duke Ellingtonfree jazzjazzMatthew ShippMichael BisioWhit DickeyMatthew Shipp Trio - To Duke (Rogue Art, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-DMaVakdApdI/VRmR2-_r4RI/AAAAAAAAIVI/2aDeGRgYkRs/s1600/Unknown.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-DMaVakdApdI/VRmR2-_r4RI/AAAAAAAAIVI/2aDeGRgYkRs/s1600/Unknown.jpg" /></a></div>Conventional wisdom states that Matthew Shipp is a “free-jazz” or “avant-guard” musician. But in truth he is a wide ranging and thoughtful pianist and composer who as Duke Ellington himself would undoubtably say is “beyond category.” This is a thoughtful and quite beautiful tribute that takes his well known melodies with a hint of reverence, but then moves beyond them to to create pithy personal statements. He is ably supported by longtime colleagues Michael Bisio on bass and Whit Dickey on drums. After a short introduction called “Farewell to Duke” the trio dives into some of the most well known compositions of the Ellington canon. Shipp’s deeply percussive attack and use of the entire piano makes him uniquely qualified to place a personal stamp on the music. “In a Sentimental Mood” is re-imagined as a mysterious performance where the whole trio flirts with the melody, and then takes liberties from the inspiration that it provides. The jaunty melody of “Satin Doll” is nearly danceable before the group begins to gleefully deconstruct it. There is a great sense of the band having fun, like the Ellington tunes are old friends that they can celebrate with shared knowledge and trust. This sense continues on the chestnut “Take the A-Train” with some wonderfully fast paced bass work from Bisio and hard-charging piano from Matthew Shipp, playing the low end of the piano very hard to give the music a forceful percussive feeling that drives the music forward. “Mood Indigo” quite subtle with Dickey switching to brushes as the trio gently swings the ballad. Shipp returns to the ballad form on "Prelude to a Kiss" taking this as a solo piano feature and playing the song with grace and tact. "Sparks" comes barreling out of the gate with storming trio interplay. Elastic bass and drums stretch and pull as necessary and allowing Shipp to fly free in his torrid improvisational exploration. This is a very wonderful and consistently exciting album, where the listener is consistently surprised with the way that the trio interprets and deconstructs this well known standards. Duke would be quite proud. <a href="http://www.amazon.com/gp/product/B00SI54FXW/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00SI54FXW&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=INQZSXLP4TWHK3S4">To Duke - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00SI54FXW" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/matthew-shipp-trio-to-duke-rogue-art.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-8419833079020124800Sun, 29 Mar 2015 04:12:00 +00002015-03-29T00:12:45.368-04:00AtomicFredrik Ljungkvistfree jazzHans HulboekmoHavard WiikIngebrigt Haker-FlatenjazzMagnus BrooAtomic - Lucidity (Jazzland, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-9fqLwRXt2Nc/VRd65DQfd_I/AAAAAAAAIU0/bkFgYswRYMc/s1600/Atomic.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-9fqLwRXt2Nc/VRd65DQfd_I/AAAAAAAAIU0/bkFgYswRYMc/s1600/Atomic.jpg" height="200" width="200" /></a></div>Atomic is a stalwart modern jazz band from Scandinavia featuring Havard Wiik on piano, Fredrik Ljungkvist on saxophone and clarinet, Magnus Broo on trumpet, Ingebrigt Haker-Flaten on bass and Hans Hulboekmo on drums, replacing Paal Nilssen-Love. The music is their trademark free-bop, beginning with “Laterna Interfult” which opens with a mysterious melody before diving into some more powerful improvised sections, where the music stutters and sways, and the horns weave and joust around each other. Ljungkvist breaks lose on saxophone, before stopping on a dime, moving the music back to a more passive position. There are sections of faster, choppier collective improvisation which are quite exciting as is the nimble way that everyone can drop out to give Haker-Flaten a well deserved bass solo. The full band returns for a rousing and swinging conclusion. More beautiful bass playing is featured on “A New Junction” which patiently adds instruments developing a slow simmer. Spacious and spare, there is room to move for trumpet and clarinet, then involving droplets of piano. “Lucidity” jumps out of the gate hard with the full band firing on all cylinders. A punchy trumpet solo from Broo, is kicked in the pants nicely with Hulboekmo’s heavy pulse. They ramp down to a more abstract section, before Wiik gleefully leads them back into the back into the fray with trumpet and saxophone reaching for the sky about the powerful rhythm team. Flute like trumpet from Broo along with open ended piano draws subtle shades on “Start/Stop” before they jump up with a more complex group improvisation including a nice section for clarinet and bass, followed by very heavy hitting piano and drums accented by trumpet squeals. “Major” has a noir-ish haunted opening, Things spring to life with throbbing fast bass (IHF is just epic throughout the whole album) pushing Broo’s trumpet ever higher. The full band comes together, rocketing into orbit with an excellent collectively improvised section. Atomic has been around for a while now and their music continues to evolve, moving from jazz to free improvisation and back. The band is a group of very talented individual musicians, but when the come together, the whole is definitely better than the sum of its parts. <a href="http://www.amazon.com/gp/product/B00SULSLGQ/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00SULSLGQ&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=SKKIPD2AC5M4IG5B">Lucidity - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00SULSLGQ" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><div><br /></div><div>Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.</div>http://jazzandblues.blogspot.com/2015/03/atomic-lucidity-jazzland-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-7729878307936149488Thu, 26 Mar 2015 15:20:00 +00002015-03-26T11:20:47.037-04:00booksrock and rollThe Rolling StonesBook: The True Adventures of the Rolling Stones 30th Anniversary Edition by Stanley Booth (Chicago Review Press, 2014)<a href="http://2.bp.blogspot.com/-nmKfQQ8U69k/VRQjpiv7bAI/AAAAAAAAIUY/5ORiqX-YhOQ/s1600/stones.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-nmKfQQ8U69k/VRQjpiv7bAI/AAAAAAAAIUY/5ORiqX-YhOQ/s1600/stones.jpg" height="200" width="133" /></a>Author Stanley Booth had an opportunity that a writer would never have has before or since, a chance to be part of the Rolling Stones as they toured the United States successfully in 1969 and then crashed and burned at the infamous Altamont Festival. Booth chronicles everything from the ever present drugs to groupies, managers and hangers on. He does stall the narrative on a few occasions to talk about his own problems of getting his book deal and advance, but for the most part stays on topic. He will juxtapose the narrative of the 1969 tour with vignettes of the Stones early tours, where they were mobbed by fans, some of which are beyond belief as fans are driven to near-psychosis, attacking band members and their entourage for any scrap of memento that they can get their hands on. Also portrayed is Brian Jones, the ill-fated founding member of the group that went from rising star multi-instrumentalist to drug casualty with an early death. It is fascinating the way that drugs are handled back then too, as the police raid the members homes and they face multi-yrear jail terms for the possession of marijuana. But in the end it comes down to the music, and Booth's portrayal of the tour from the inside is fascinating with a hard to beat lineup that featured the Stones along with B.B. King and Ike &amp; Tine Turner. Booth had full access to the group and the behind the scenes banter is fascinating as well, with the band members talking about their musical influences, recording sessions and aspects of their personal lives that were never before revealed. But then it all went wrong: the band liked the idea of playing a free concert like many of the American west coast bands like the Grateful Dead had done, and settled on the Altamont Speedway in California for the event. This is one of the most famous events in rock &amp; roll history and Booth is right there to cover it all - the madness of the Hell's Angels as they kill a man right in front of the stage and savagely beat and maim others. The band's desperate and eventually futile attempts to calm the crowd, a restless mass of over 300,000 people in a truly anarchic state of tragic lawlessness. In the end the book works quite well, and the first-person narrative carries a lot of the weight of this heavy time very well. Despite some flaws, this is a must-read from rock &amp; roll fans. <a href="http://www.amazon.com/gp/product/1613747837/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=1613747837&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=MU6P74YAZAQOYJPC">The True Adventures of the Rolling Stones - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=1613747837" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/book-true-adventures-of-rolling-stones.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-3563125456056221674Sun, 22 Mar 2015 20:50:00 +00002015-03-22T16:50:25.146-04:00Anat CohenDaniel FreedmanGilad HekselmanJason LinderjazzJoe MartinRomero LubamboAnat Cohen - Luminosa (Anzic Records, 2015)<a href="http://1.bp.blogspot.com/-S-P8mQ3JJt0/VQ8qjWXsHiI/AAAAAAAAIUE/KnutDe0-WHw/s1600/images.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-S-P8mQ3JJt0/VQ8qjWXsHiI/AAAAAAAAIUE/KnutDe0-WHw/s1600/images.jpg" height="182" width="200" /></a>Using Brazilian music as a jumping off point, multi-instrumentalist Anat Cohen plays a wide range of music on this balanced set of mainstream jazz. She is joined by Jason Lindner on keyboards, Joe Martin on bass, Daniel Freedman on drums, Romero Lubambo and Gilad Hekselman on guitar and percussionist Gilmar Gomes along with special guests. The album begins with “Lilia” which has a slow and patient opening, building to a mid-tempo clarinet solo that smears long slippery notes over piano, bass and drums. Joyful clapping percussion introduces “Putty Boy Strut” which wouldn’t sound out of place at a New Orleans street party. Cohen responds with upbeat, dancing clarinet. The word “strut” accurately describes this song as the buoyant playing carries it all the way through to the end. &nbsp;“Bachiao” is enveloped by hollow sounding clarinet and gentle guitar making for a bossa nova feel. Satiny sounding guitar picks up the pace in the middle and the interplay on this duo selection works quite well. Slow and haunted acoustic guitar in conjunction with elegiac clarinet usher in “Cais.” The music has a slow and mournful ballad feel with light percussion and just a hint of keyboards framing the piece. The rhythm section glides in to pick up the pace, giving the music an episodic feel. Cohen’s clarinet becomes more urgent over percussive piano as she includes crying wails from her bass clarinet. “In the Spirit of Baden” has some medium tempo percussion with a hint of gentle guitar while the clarinet caresses the melody. Keyboard notes fall like a gentle shower while acoustic guitar and gentle percussion hold the groove. The music moves to a rather complex but beguiling conclusion. “Espinha De Bacalhau” has a very jaunty feel with accordion adding to the guitar and clarinet. The music is fast and impassioned but also light on its feet, truly music to dance to. There is a rolling feature for the clarinet, carrying the music through to the finale. She ends the album by playing tenor saxophone on “The Wein Machine” with the band swinging well at a medium boil. Thick bass and drums underpin a catchy groove with a hint of keyboard. Using compositions from musicians as diverse as Flying Lotus and Milton Nascimento as well as her own originals on this album keep the music varied. There is no pretentiousness to the music and it is played in the spirit of fun, sincerity and open emotion. <a href="http://www.amazon.com/gp/product/B00T7Z5WE8/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00T7Z5WE8&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=IKMVBU27AW6NDOZX">Luminosa - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00T7Z5WE8" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/anat-cohen-luminosa-anzic-records-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-6734453698154388843Sat, 21 Mar 2015 21:26:00 +00002015-03-21T17:26:33.841-04:00Fabian AlmazanjazzJim SnideroLinda OhRudy RoystonJim Snidero - Main Street (Savant, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-NWYw0EirQCk/VQ3hx9DbAZI/AAAAAAAAITw/km8byrFvdAc/s1600/snid.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-NWYw0EirQCk/VQ3hx9DbAZI/AAAAAAAAITw/km8byrFvdAc/s1600/snid.jpg" height="200" width="200" /></a></div>Jim Snidero is a veteran alto saxophonist and composer with several albums to his credit. On this album he leads a fine mainstream jazz band consisting of Fabian Almazan on piano, Linda Oh on bass and Rudy Royston on drums. Snidero tours widely, and that is relevant to this album as the song titles presents a travelogue of sorts. I grew up not far from there so “Post Time Saratoga” rings a bell, with a fast paced feeling evoking the famous racetrack and the strong swing of the song reflecting the excellent jazz scene of that area. “Duluth at Noon” leads of the album with a strong and efficient groove, with Linda Oh and Rudy Royston expanding and contracting their playing like a living being and allowing Snidero and Almazan to range freely through the music. “Las Vegas” has a lush opening for solo piano, before subtle bass and drums fold in with slow and stately saxophone allowing the rhythm to carry the music. “Oxford Square” has a patient and supple sound, allowing for Snidero’s ripe saxophone to make a positive statement ably supported by the rhythm unit. The well know standard “Autumn in New York” is presented as a stately ballad, yearning in its emotion and a bit melancholic. Snidero thrives at this tempo, not rushing or forcing, but allowing the melody to carry him and his elaborations on it. A fine bass feature opens “The Streets of Laredo” before the rest of the band comes charging in, building a strong uptempo foundation. The music is fast and hard and develops into a ripe situation with Snidero circling and swooping while Rudy Royston drives the music relentlessly forward and is rewarded by taking an excellent drum solo. This is the highlight of the album, and everybody gets a turn in the spotlight including Almazan who shows powerful mastery of the keyboard, before everybody comes together for a storming conclusion. This is a fine middle of the road jazz LP that should appeal to a wide range of fans. The music is well played and the musicians are fully engaged creating in the moment. <a href="http://www.amazon.com/gp/product/B00QNUF2GS/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00QNUF2GS&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=YWREMU333H3CN6CH">Main Street - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00QNUF2GS" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><div><br /></div><div>Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.</div>http://jazzandblues.blogspot.com/2015/03/jim-snidero-main-street-savant-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-178497745794400016Tue, 17 Mar 2015 20:39:00 +00002015-03-17T16:39:44.165-04:00King Crimsonprogressive rockrock and rollKing Crimson - Starless (Discipline Global Mobile, 2014)<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-21vl2f2Go5c/VQiQVCEuo_I/AAAAAAAAITc/UX4Qlvjr20c/s1600/starless.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-21vl2f2Go5c/VQiQVCEuo_I/AAAAAAAAITc/UX4Qlvjr20c/s1600/starless.jpg" height="200" width="200" /></a></div>A massive love letter to fans, this walloping twenty-seven disc boxed set is the kind of love that stares in your windows and goes through your trash. This version of King Crimson was one of it’s most revered with leader Robert Fripp on guitar and mellotron, John Wetton on bass and vocals, David Cross on violin and keyboards and Bill Bruford on drums and percussion. The box covers the band’s 1973-1974 tour of Europe from Scotland to Germany. Setlists were relatively similar night to night, with the staples being the fan favorites like the crushing “Easy Money” and “The Great Deceiver” to the ethereal “Starless” and “The Night Watch.” What makes each of the concerts unique was the manner that the group brought the each performance, and the quality of the collectively improvised sections that bridged the songs. Each member of the group was a master of their instruments, and the improvised sections rival The Mahavishnu Orchestra, Return to Forever or any other jazz-fusion band of the day except for the massive electric funk groups of Miles Davis. Of particular interest are the so called “blue tapes” which are very high quality recordings and make up the heart of the set. There are several mixes of the original <i>Starless and Bible Black</i> studio album, both in stereo and surround sound, mastered by Steven Wilson, and there is high quality DVD-A and Blu-Ray material that presents certain concerts and studio recordings in higher fidelity. There is a lengthy booklet included with excellent photographs, diary entries and comments by the band members and an essay that puts the music in historical context. There is also a set of ephemera like replica concert posters and tickets and magazines to round out the package. But it all comes down to the music, and if there is one band that deserves this outrageous treatment it might very well be this one where the songs, improvisations and performances make for a titanic achievement. <a href="http://www.amazon.com/gp/product/B00MOZ1N7S/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00MOZ1N7S&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=G3YM5HE5QNM727KT">Starless (Deluxe box set) - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00MOZ1N7S" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/king-crimson-starless-discipline-global.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-4743199207920668671Sun, 15 Mar 2015 23:12:00 +00002015-03-15T19:12:13.498-04:00Captain Beefheartrock and rollCaptain Beefheart - Sun, Zoom, Spark: 1970 to 1972 (Rhino/Warner Brothers, 2014)<a href="http://4.bp.blogspot.com/-xda7eayO4UI/VQYRBjfwdoI/AAAAAAAAITE/HQ8ovGSqoOc/s1600/81iruXW7sNL._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-xda7eayO4UI/VQYRBjfwdoI/AAAAAAAAITE/HQ8ovGSqoOc/s1600/81iruXW7sNL._SX425_.jpg" height="200" width="200" /></a>Captain Beefheart (aka Don Van Vliet) was a seminal figure in rock and roll from the late sixties to the early eighties. What he may have lacked in popular music sales was more than compensated for with a completely unique musical conception and a massive influence on generations of musicians. This boxed set collects the work immediately following his seminal masterwork <i>Trout Mask Replica</i>, containing the albums <i>Lick My Decals Off Baby</i>, <i>The Spotlight Kid</i>, <i>Clear Spot</i> and a disc of alternate takes and rarities. <i>Lick My Decals Off Baby</i> is closest in spirit to <i>Trout Mask Replica</i>, with the caustic spirit of tracks like “Doctor Dark” and the leadoff title track juxtaposed with Beefhearts Dadaist humor on “I Wanna Find A Woman That'll Hold My Big Toe Till I Have To Go”, “The Smithsonian Institute Blues (Or The Big Dig)” and the concluding “Flash Gordon’s Ape.” The material on <i>The Spotlight Kid</i> has a little bit more conventional melodic content on “Blabber ‘n’ Smoke” but the Captain was a ferocious as ever on “I'm Gonna Booglarize You Baby” and the wonderfully ominous “When It Blows Its Stacks.” <i>Clear Spot</i> continued this trend with the melancholic “My Head Is My Only House Unless It Rains” and “Her Big Eyes Are a Blue Million Miles” balanced with the humorous “Nowadays A Woman's Gotta Hit A Man” and the ferocious “Big Eyed Beans from Venus.” The fourth disc is a grab bag of alternate takes and instrumental tracks of interest to diehard fans and collectors, but they do offer a peek behind the curtain at one of the most unusual, fascinating and enigmatic musicians in rock and roll history. <a href="http://www.amazon.com/gp/product/B00N4FAVCA/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00N4FAVCA&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=5Z3RLTFRLM7MRUFP">Sun, Zoom, Spark:1970 to 1972 - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00N4FAVCA" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/captain-beefheart-sun-zoom-spark-1970.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-3891925572912565890Sun, 08 Mar 2015 22:03:00 +00002015-03-08T18:03:47.106-04:00Don Patefree jazzjazzMarilyn CrispellRa-Kalam Bob MosesTisziji MunozTony FalcoTisziji Munoz and Marilyn Crispell - The Paradox of Independence (Anami Music, 2015)<a href="http://3.bp.blogspot.com/-tbZ08nZyYTU/VPzG8MoWu6I/AAAAAAAAISs/Nroz_xlX9no/s1600/10406362_10152763937412362_2083205839775556530_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-tbZ08nZyYTU/VPzG8MoWu6I/AAAAAAAAISs/Nroz_xlX9no/s1600/10406362_10152763937412362_2083205839775556530_n.jpg" height="200" width="200" /></a>The pairing of pianist Marilyn Crispell and electric guitarist Tisziji Munoz is a curious one, but in the end it works quite well. Both musicians have individual approaches and tones that they get from their respective instruments that meld and contrast in interesting ways. This album was recorded live in Marlboro, NY on July 4, 2014 and the group is rounded out with Don Pate on bass and Ra-Kalam Bob Moses and Tony Falco on drums. Opening with “No Self, No Thought, No Mind” a title that seems to inspire the thought of creative spontaneity, the call is answered by a strong section of piano, bass and drums, developing a flurry of activity. Munoz’s guitar joins in, seemingly elated to be in the company of such challenging musicians. He is playing fast and loose over the deep foundation of the rhythm section developing a sense of flying high above the clouds. There is a subtle drum conversation before the music closes. “Shenai Letticia” builds in a suite like manner, opening with Crispell playing piano without accompaniment, devoted to the entire depth and breadth of the instrument, playing that is spacious and full sounding. Munoz edgy guitar enters after her lengthy solo section, with an inner logic developed over years of playing and conceptualizing. He moves ever faster as the piano seems to drop out, allowing him to soar with the deeply rhythmic bassist and drummers at length in a well coordinated and exploratory manner. Crispell then returns to provide a thoughtful and poignant conclusion. Inspirational and spirited piano opens “Fatherhood” building a spiritual jazz notion that is added to by Munoz’s subtle and colorful guitar playing, like painting a sunrise in the distance. This music moves quite quickly to a fast and grinding section for electric guitar, driving the quintet through its paces. “Goodbye Dear Sweet Mother” does start in an elegiac fashion, but the music moves into free territory, entering the realm of Pharoah Sanders, Sonny Sharrock and other fellow travellers that used music as a spiritual quest. This was a very well played and well recorded performance. Munoz has been on a tear recently, releasing several albums of consistent quality and this one is no different. <a href="http://www.amazon.com/gp/product/B00PMCYYJO/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00PMCYYJO&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=EQG7FM7KRPAGCEIT">The Paradox of Independence - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00PMCYYJO" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/tisziji-munoz-and-marilyn-crispell.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-1418517216405214282Sat, 07 Mar 2015 22:12:00 +00002015-03-07T17:12:16.841-05:00Eyal Maozfree jazzHypercolorJames IlgenfritzjazzLukas Ligetiprogressive rockHypercolor - Hypercolor (Tzadik, 2015)<a href="http://4.bp.blogspot.com/-b5HTBLJu2kU/VPt3cKtAZ6I/AAAAAAAAISU/G8Vg2gylXNg/s1600/a4133320054_2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-b5HTBLJu2kU/VPt3cKtAZ6I/AAAAAAAAISU/G8Vg2gylXNg/s1600/a4133320054_2.jpg" height="200" width="200" /></a>Hypercolor is an excellent jazz-rock trio consisting of Eyal Maoz on guitar, James Ilgenfritz on bass, and Lukas Ligeti on drums. They match their powerful ferocity with poignant lyricism making for a consistently interesting sound. The album opens with “Squeaks” which is a fast and fun opener, rocking hard, developing touches of funk and intricate interplay. “Chen” has a medium tempo with thick bass and powerful drumming. Pyrotechnic guitar ratchets up the music to a higher level. Slower and thoughtful, “Forget” builds up the tension with a strong rockish feel but still yearning, while electric bass bubbles up and plays off the other two instruments. “Ernesto” features strong drumming that is continuously moving and probing guitar looking for an opening. They take a medium-up tempo, with Maoz producing liquid drops of guitar tone. A more abstract song is “Glowering” where squiggles and chimes pick up the pace with some slashing guitar and heavier drums adding to the mix. “Palace” is a fast juggernaut of frenetic guitar and drumming with Ilgenfritz’s bass prodding everyone along. Nothing is held back as the band takes on a relentless slash and burn approach. The trio comes out of the gate hard again on “Transit” building a metallic funk feel with shards of guitar against shifting bass and drums. There is a loose midsection, and then the music moves through a well played bass led section, concluding with a collective improvisation that is strong and hard. The final performances on the album “Little” and “Quixotic” slow the pace down a bit allowing the music to open up and breathe, quieter and mysterious, building to a melodic majesty, like a longing for something lost. This is a very well played album by a very exciting band. It is accessible for both fans of rock and modern jazz, and hopefully there will be more music from this trio to come. <a href="http://www.amazon.com/gp/product/B00QKMCN84/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00QKMCN84&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=OYI5FUPVJUANGFWT">Hypercolor - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00QKMCN84" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/hypercolor-hypercolor-tzadik-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-3454232491401743890Thu, 05 Mar 2015 00:24:00 +00002015-03-04T19:24:36.639-05:00chamber musicclassicalJohn ZornJohn Zorn - Hen to Pan (Tzadik, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-d2DJUat0-7U/VPeiMcGH2FI/AAAAAAAAIQI/VRXU8ULyFgE/s1600/Unknown.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-d2DJUat0-7U/VPeiMcGH2FI/AAAAAAAAIQI/VRXU8ULyFgE/s1600/Unknown.jpg" /></a></div>This album is a selection of chamber music composed by John Zorn and performed by the group of Steve Gosling on piano, Jay Campbell and Michael Nicolas on cello, Chris Otto on violin and Tyshawn Soreyon drums. These musicians play in different groupings from duo on up and Tzadik’s website touts this music as visceral, intense and powerfully emotional. The album opens with “Ouroboros (trio version 1)” which begins with drums and wild strings, developing an uneasy feel with slashing strings and drums. The music is very exciting and unnerving, ranging from abstract section to music of a more violent nature, both dynamic and untethered. “Occam’s Razor” comes alive with droplets of piano notes playing off against bowed strings. The music is able to move from a whisper to a scream in ways that are by turn dark and foreboding. Sawing bow and string plucks usher in “Ouroboros (duo version)” before moving into a bowed section of astonishing speed, fast as possible before dropping off on a dime. The sweeps of acoustic noise and the coiled tension is equally hypnotic and telepathic. “The Aristos” moves through cutting strings and piano before dropping into sections of anxious silence then climbing to the heights of complexity and then cutting off abruptly. The concluding piece is &nbsp;“Ouroboros (trio version 2)” where Sorey’s confident and evocative drumming moves against wickedly fast strings before crashing into abstraction and then rebounding and driving to an intense and heavy conclusion. I do not know much about chamber music (as this post no doubt makes abundantly clear) but it really lives up to Tzadik’s claim that this is “chamber music as you have never heard it before.” Dense, visceral and at times a little frightening this is music that demands your full attention. <a href="http://www.amazon.com/gp/product/B00RZHDAUI/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00RZHDAUI&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=AYT3KKOMXUIQDCSO">Hen to Pan - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00RZHDAUI" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/john-zorn-hen-to-pan-tzadik-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-604331363987847080Sun, 01 Mar 2015 21:31:00 +00002015-03-01T16:31:19.116-05:00Andre Rolighetenfree jazzFriends and NeighborsjazzJon Rune StromOrnette ColemanOscar GronbergThomas JohanssonTollef OstvangFriends and Neighbors - Hymn For a Hungry Nation (Clean Feed, 2014)<a href="http://3.bp.blogspot.com/-VpqwbMUdwBs/VPOEeXqj_rI/AAAAAAAAIP0/tgvgoCH7ZDw/s1600/51f9gT16wgL._SS280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-VpqwbMUdwBs/VPOEeXqj_rI/AAAAAAAAIP0/tgvgoCH7ZDw/s1600/51f9gT16wgL._SS280.jpg" height="200" width="200" /></a>Friends and Neighbors is a Norwegian jazz quintet that took their name from an obscure Ornette Coleman LP which is appropriate since they have a wonderful Ornette like sound that combines post-bop jazz with sections of free improvisation. The band consists of Andre Roligheten on tenor saxophone and clarinet, Thomas Johansson on trumpet, Oscar Gronberg on piano, Jon Rune Strom on bass and Tollef Ostvang on drums. The opening track, “Hymn For a Hungry Nation” is fast paced and full bodied with a propulsive free section of piano, bass and drums followed by confident horn riffing and a spitfire trumpet solo, and brash saxophone section. They go to the source with “John’s Abbey” setting up a probing and yearning saxophone section, followed by fractured bass and drums which keeps everyone on their toes. Bowed bass and clarinet give a different feel to “Give Me Jarrison” the music develops a sense of disorientation and lack of resolution. “Skremmerud” shows the band charging out of the gate with a choppy theme, making way for twisting and turning openings for trumpet, before things get a little spaced out in the middle, moving toward an abstract section with bowed bass and rattling drums. The longest tune on the album “Vocals on the Run” which changes from a fanfare melody to a nice bass feature for Strom, before wide roving drums move the performance to another level with rippling percussive piano and peals of trumpet. There is an impressive free section for the entire band to improvise collectively, before powering back to the original theme and concluding. Finally, “Heading South” is a ballad, languid and emotional with heavy drops of piano flowing against broken rhythms with long tones of saxophone and trumpet making for a sense of anxiety, before they let up and return to the lush melody. This was a fine album from an exciting band. The nod to Ornette Coleman is prevalent throughout the music but only as a jumping off point, this band has much to say on their own. <a href="http://www.amazon.com/gp/product/B00QJ02G2U/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00QJ02G2U&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=MMRX5CPMKO4UKLDU">Hymn for a Hungry Nation - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00QJ02G2U" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/03/friends-and-neighbors-hymn-for-hungry.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-8163247608041400282Tue, 24 Feb 2015 00:16:00 +00002015-02-23T19:16:36.225-05:00bebopCharles McPhersonChip StephensjazzKeith OxmanKen WalkerTodd ReidCharles McPherson - The Journey (Capri Records, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-0_YCZrtwIq0/VOvCeqjDM6I/AAAAAAAAIPg/MO-ArII5yDg/s1600/81PQmsg8hCL._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-0_YCZrtwIq0/VOvCeqjDM6I/AAAAAAAAIPg/MO-ArII5yDg/s1600/81PQmsg8hCL._SX425_.jpg" height="200" width="200" /></a></div>Alto saxophonist Charles McPherson was one of the many great jazz musicians to come out of Detroit in the 1950’s, beginning an active solo recording career in the 1960’s in addition to taking advantage of high profile sideman opportunities. He is known as one of the foremost bebop inspired saxophonists on the modern scene and is still blowing mightily on this record, in the company of Keith Oxman on tenor saxophone, Chip Stephens on piano, Ken Walker on bass and Todd Reid on drums. “The Decathexis from Youth (For Cole)” kicks things off in a splendid fashion with a jaunty, swaggering opening laying the groundwork for a jubilant ripe alto saxophone solo. Full sounding piano along with bass and drums take a propulsive interlude before the saxophones return to harmonize and conclude a rousing opener. Bop and ballads are the order of the day and the fast paced version of “Spring Is Here” charges ahead mightily with the bright sounding and locked in rhythm section backing the horns along with soloing and occasionally boiling up to push the saxophones ever forward. McPherson is also an excellent and patient ballad player, as evidenced with “Manhattan Nocturne” where the saxes weave together using the piano, bass and drums team to provide subtle shading. The leader takes a very sweet sounding solo followed by a nice bass interlude. “The Journey” opens the music back up again as the twin saxophone attack bobs and weaves around the opening riff before the tenor sax races to the front for the leading solo. McPherson takes the next solo, rooted in bebop but stretching to incorporate the length and breadth of his horn. The album is rounded out by two well played uptempo performances, “Tami’s Tune” which features an another excellent Walker solo, and the Bud Powell tribute “Bud Like” that is a blasting, twisting and complex bebop tune with a fantastic McPherson solo which references Charlie Parker, Eric Dolphy and his own brilliant playing. The round robin format of solos leads to a strong tenor saxophone feature, before appropriately enough, Stephens’ piano takes center stage, followed by a brief drum solo, all of which crackle with energy. This is mainstream jazz immaculately played and lead by a master musicians who has spent his life in the musical trenches and will hopefully get some long overdue attention with this fine album. <a href="http://www.amazon.com/gp/product/B00QNUF2R2/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00QNUF2R2&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=J4MMHUMYSTN54IFJ">The Journey - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00QNUF2R2" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><div><br /></div><div>Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.</div>http://jazzandblues.blogspot.com/2015/02/alto-saxophonist-charles-mcpherson-was.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-8301048229504832462Wed, 18 Feb 2015 02:31:00 +00002015-02-17T21:31:28.329-05:00jazzMarcus GilmoreStephan CrumpVijay IyerVijay Iyer - Break Stuff (ECM, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-Brd9JMirL8Y/VOP5KRB5qwI/AAAAAAAAINo/3L1rCB7HSQ8/s1600/91veADfP2aL._SL1400_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Brd9JMirL8Y/VOP5KRB5qwI/AAAAAAAAINo/3L1rCB7HSQ8/s1600/91veADfP2aL._SL1400_.jpg" height="200" width="200" /></a></div>Pianist and composer Vijay Iyer’s most recent album for the ECM label shows him reuniting with his long standing trio of Stephan Crump on bass and Marcus Gilmore on drums. They present a wide ranging program of originals, adaptations from a jazz and spoken word project and jazz standards from John Coltrane, Thelonious Monk and Billy Strayhorn. On this album Iyer looks to explore the breaks and spaciousness that can develop within songs and between musicians. Previously the trio had been invited by the novelist Teju Cole to accompany him on a reading of his novel Open City and Iyer was particularly impressed by the evocative description of birds within the work. Pieces of that overall suite are interspersed through this album with the performances “Starlings”, “Geese” and “Wrens.” The music of famous jazz composers is one of the highlights of this album, ranging from the fragile and contemplative reading of Billy Strayhorn’s “Blood Count” to the very fast version of John Coltrane’s “Countdown” which starts of solo and builds ever faster as the other members of the trio join into the fold. Iyer has stated that Thelonious Monk is one of his greatest inspirations and this is shown quite readily on their version of Monk’s “Work.” The make the song their own by ducking and weaving around in their improvisations, then hinting at the melody and working off of it. “Hood” takes the idea of breaks even further, incorporating aspects of hip-hop into the music which takes things in a deeply rhythmic direction. This was a very well done album, one that did not focus on soloing, but rather the interaction between the musicians and their engagement with the material. They take the music and use it as a basis for evolving and exploring by deeply listening. <a href="http://www.amazon.com/gp/product/B00PX8DEFC/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00PX8DEFC&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=5XFI4C3OF3TB22J7">Break Stuff - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00PX8DEFC" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/02/vijay-iyer-break-stuff-ecm-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-7936937147208260714Sun, 15 Feb 2015 17:21:00 +00002015-02-15T12:21:30.485-05:00free jazzjazzJon IrabagonKevin SheaMoppa ElliottMostly Other People Do the KillingPeter EvansMostly Other People Do the Killing - Hannover (Jazzwerkstatt, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-1g2WNf_toUw/VODUakt_YzI/AAAAAAAAINU/iyh5a0R71XQ/s1600/71BG2V474wL._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-1g2WNf_toUw/VODUakt_YzI/AAAAAAAAINU/iyh5a0R71XQ/s1600/71BG2V474wL._SX425_.jpg" height="197" width="200" /></a></div>Hard on the heels of their divisive <a href="http://www.wsj.com/articles/miles-daviss-jazz-masterpiece-kind-of-blue-is-redone-1412699010">Blue</a> album released last fall this follow up is a live album that plays to their strength as a forward thinking but accessible band that has one thing that lifts them over many of their colleagues: a wonderful sense of humor. This was lost during their atom by atom reconstruction of the Miles Davis&nbsp;<i>Kind of Blue</i> LP, but here they are on home turf, ripping through lengthy medleys of their own original music, as always mostly named after small towns in Pennsylvania. MOPDTK consists of Jon Irabagon on saxophones, Moppa Elliott on bass, Kevin Shea on drums and Peter Evans on trumpet. The medley of “Pen Argyl / Ulysses at Troy / Andover / Blue Ball / Effort, Patience, Diligence” runs over thirty minutes and shows the near clairvoyant telepathy that exists between the band members which allows them to shift between different tempos and themes taking cues from each other and allowing for both solo space and collective playing. The winkingly fun “Is Granny Spry” leads off the next collection of MOPDTK themes including “Dunkelbergers / Baden / Little Hope” allowing each member of the band to make their own statement and even adding some light electronics for spice. The relatively compact “President Polk” ends the first set of this live recording, before the band returns to pull out all of the stops with “My Delightful Muse / Hideaway / A Night in Tunisia” which shows their ability to work with different speeds and thematic material, as well as using a bracing shot of a jazz standard to conclude. The audience seems a little bewildered with the music and the between song banter, but in a good way. This is a group that is always full of surprises (see Blue) but is at the core a group of wonderful and highly talented musicians dedicated to making their own original statement. <a href="http://www.amazon.com/gp/product/B00OAKI6XE/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00OAKI6XE&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=F3CNHPUEZ3NBYDQI">Hannover - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00OAKI6XE" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><div><br /></div><div>Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.</div>http://jazzandblues.blogspot.com/2015/02/mostly-other-people-do-killing-hannover.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-1307255626101814086Sun, 08 Feb 2015 22:35:00 +00002015-02-08T17:35:29.268-05:00Ben AllisonBilly DrummondjazzJeremy PeltSimona PremazziVictor LewisJeremy Pelt - Tales, Musings and Other Reveries (HighNote, 2015)<a href="http://3.bp.blogspot.com/-UNmekF3q3cM/VNfjoO7jIQI/AAAAAAAAINA/u4MyyR-wWuU/s1600/61LUuL1ScPL._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-UNmekF3q3cM/VNfjoO7jIQI/AAAAAAAAINA/u4MyyR-wWuU/s1600/61LUuL1ScPL._SX425_.jpg" height="200" width="200" /></a>Like clockwork, trumpeter Jeremy Pelt releases one album per year of solid mainstream jazz. He has flirted with electronic instruments in the past, but this is an purely acoustic album featuring Simona Premazzi on piano, Ben Allison on bass plus Billy Drummond and Victor Lewis on drums. “Glass Bead Game” by Clifford Jordan was an inspired choice to open this album, with the group playing in a fast and urgent fashion, and spotlighting some excellent percussive piano and drumming which lead the charge. Pelt plays with a raw, pungent sound, cutting through the heavy drumming like a snowplow and developing an empathetic relationship with the drummers along the lines of Miles Davis and Tony Williams. The disc alternates between fast paced performances and ballads like “Vonetta” where lush and light piano notes fall like a gentle shower, laying a path for Pelt’s clear and patient trumpet tone. “Ruminations on Eric Garner” is dedicated to the Staten Island man who was killed by a New York City police officer in 2014, sparking a wave of protests. The full band comes blasting out hard and fast, featuring strong punching trumpet and heavy drumming. The twin drummer setup was an excellent choice, paying dividends throughout. Drummond and Lewis’ drumming is excellent on this album as a whole, but they reach a phenomenal peak here, before the music is drawn down to a majestic and respectful conclusion. Urgent piano and a restrained and polished trumpet sound open “Nephthys” before the drummers stoke the fire once more and the band really starts to burn, making way for a ripe piano solo over propulsive bass and drums. “The Old Soul of the Modern Day Wayfarer” concludes the album by setting up a march like feel with piano and rattling percussion before the drums take flight and the rest of the band follows. Drummond and Lewis are two excellent drummers and while it would have been easy for them to dominate the proceedings, this is really a group effort a a whole, and Pelt’s fine compositions lay the goundwork for a very good album. <a href="http://www.amazon.com/gp/product/B00QNUF1JQ/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00QNUF1JQ&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=XTO3BURNWMRMFGMS">Tales, Musings and other Reveries - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00QNUF1JQ" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><div><br /></div><div>Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.</div>http://jazzandblues.blogspot.com/2015/02/jeremy-pelt-tales-musings-and-other.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-5255788110124534452Fri, 06 Feb 2015 02:09:00 +00002015-02-05T21:09:32.389-05:00Adam RogersChris PotterjazzNate SmithChris Potter - Invisible Cities (ECM, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-UfYR9sSPxgM/VNQg5NQodwI/AAAAAAAAIMw/4R3M3gGJMYQ/s1600/71mgKGLSipL._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-UfYR9sSPxgM/VNQg5NQodwI/AAAAAAAAIMw/4R3M3gGJMYQ/s1600/71mgKGLSipL._SX425_.jpg" height="200" width="200" /></a></div>Chris Potter’s signing to the ECM label has marked a distinctive turning point in his evolution as a saxophonist and composer. While on his earlier playing as a bandleader or as a sideman with the likes of Dave Holland and Pat Metheny, he took a “traditional” modern jazz approach, and beautifully so, growing into one of the finest soloists in jazz on tenor saxophone. This is his second album at meeting the unique ECM aesthetic head on and it shows remarkable open mindedness on his part to embrace new musical concepts and settings. On this album, there’s an interesting symbiosis between his Underground group, Adam Rogers on guitar, Craig Taborn on keyboards and Nate Smith on drums with a wider cast, made up of a string quartet, two bassists, vibes and marimba. It’s an audacious concept, beginning with “Lament” where Potter picks his spots, not overwhelming the proceedings, but adding a wonderful soft ballad tone at times recalling Johnny Hodges or Ben Webster. One of his most risk-taking propositions follows, the four-part suite “Invisible Cities.” It is kind of a shock hearing him in this string laden dreamy setting, with “Part 1: Compassion” being something of a stoic ballad where he patiently navigates the almost but not quite sappy strings, building a majestic solo statement, followed by some tasteful guitar. Dancing plucked strings usher in "Part 2: Dualities" and nimble playing from all concerned launches Potter on a more organic solo flight, followed by a nifty marimba solo from Steve Nelson. “Part 4: Rebuilding” concludes the suite with a very wide scale cinematic performance with a fine saxophone solo in the middle and a hopeful air all around. “Firefly” works with swelling strings to propel saxophone and guitar to flight, while “Sky” is a mini-suite in it’s own right moving through sections of strings, saxophone and showing a distinct Pat Metheny influence in it’s open structure and wide palette of sound colors. I must confess with regret that "with strings" albums are not my favorite. The arrangements here are ambitious and Potter's playing is simply magisterial throughout, but I found the strings to be a distraction. Your milage may vary. <a href="http://www.amazon.com/gp/product/B00PX8DEX4/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00PX8DEX4&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=CMPMXCZJL7J74SM5">Imaginary Cities - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00PX8DEX4" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/02/chris-potters-signing-to-ecm-label-has.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-3196216138442368917Thu, 05 Feb 2015 01:34:00 +00002015-02-04T20:35:19.271-05:00punkrock and rollSleater-KinneySleater-Kinney - No Cities to Love (Sub Pop, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-zz0gizXzujA/VNLG_cvIBWI/AAAAAAAAIMg/TfTfrRTi7wI/s1600/51iFXG16xgL._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-zz0gizXzujA/VNLG_cvIBWI/AAAAAAAAIMg/TfTfrRTi7wI/s1600/51iFXG16xgL._SX425_.jpg" height="200" width="200" /></a></div>Another surprising development in the latter half of the 2014 music year was the news that the legendary punk/rock (associated with <a href="http://en.wikipedia.org/wiki/Riot_grrrl">Riot Grrrl</a>) band Sleater-Kinney would reform to release an album and play selected concert dates. They were one of the finest rock and roll bands of the late 1990’s and early 2000’s with critic Greil Marcus going so far as to call the best band in America in Time Magazine. The three members went their separate ways in 2006 with guitarist and vocalist Carrie Brownstein transitioning to a popular television career, Janet Weiss as a freelance drummer to a number of bands and guitarist and vocalist Corin Tucker to raising a family and to embarking on a solo career. This album is really a triumphant return, the songwriting is top notch and the band sounds as tight as ever musically and vocally. Topical songs are a focus of much of the music with the leadoff song “Price Tag” whose prescient lyrics about trying to make ends meet while doing a medium wage job for a soulless corporation and keeping a family together sounds like something out of Barbara Ehrenreich’s book <a href="http://www.amazon.com/gp/product/0312626681/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=0312626681&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=ZS423GQYQJPEB2ZW">Nickel and Dimed</a>. “No Cities to Live” looks at the transitory nature of the American landscape and the urban culture juxtaposed by the threat of annihilation by forces beyond any regular person’s control. It’s not all that heavy though, “Hey Darling” is poppier song, before blasting into blistering takeoff. The love and relationship song “A New Wave” and “Bury Our Friends” takes a deeply rhythmic approach, with soaring vocal harmonies and guitars intertwining with pummeling and forceful drumming. It’s great that they are able to slip back into their distinctive sound like a comfortable pair of old shoes, but this is far from an exercise in nostalgia or a cash in. This band truly has something to say and an urgent need to say it. This was a short album, little over a half an hour long, but that sounds just right, giving the music a lean distilled punch. Was it worth the eight year weight? Oh yes. <a href="http://www.amazon.com/gp/product/B00OPMI3N0/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00OPMI3N0&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=BRVJJD72FSFCL7ZM">No Cities To Love - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00OPMI3N0" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/02/sleater-kinney-no-cities-to-love-sub.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-5800437584613352947Wed, 04 Feb 2015 02:22:00 +00002015-02-03T21:22:54.783-05:00"Big" Walter Hortonfree jazzjazzJon IrabagonJon LundbomMoppaJohn Lundbom and Big Five Chord - Jeremiah (Hot Cup, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ms850AFMk3Y/VNGCXgrkbiI/AAAAAAAAIMQ/vGSOhdj8aDU/s1600/Lundbom.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ms850AFMk3Y/VNGCXgrkbiI/AAAAAAAAIMQ/vGSOhdj8aDU/s1600/Lundbom.jpg" height="200" width="200" /></a></div>Guitarist Jon Lundbom is a fascinating figure on the modern jazz scene, releasing subversive and fascinating music. His memorable compositions and the generous amount of solo time allotted to his accompanists make for music that is strong and vibrant throughout. He is accompanied on this album by Jon Irabagon on soprano sax, Bryan Murray on tenor and balto (hybrid baritone/alto) saxophones, Moppa Elliott on bass, Dan Monaghan on drums, Sam Kulik on trombone and Justin Wood on alto saxophone and flute.“The Bottle” opens the album with strong, punishing saxophones, flinty guitar with powerful drumming. This is heavy stuff and the band really bears down with some awesome raw caustic saxophone goaded on by fine percussion leading to completely epic and over the top joy. Blending horns swirl saxophones ebb and flow on “Frog Eye” building strength and power in a wild and woolly collective improvisation. Lundbom takes a knotty guitar solo backed by splashy drumming. Harmonizing horns open “Scratch Ankle” before they throw caution to the wind blowing hard with some epic drumming forcing their hand. The horns joust and parry looking for an opening, taking the raw and wild sound to exciting new levels. “First Harvest” slows things down with soft, subtle near ballad guitar, horns appear, rather more gentle and build with majesty, leading to a tenor solo with brushed percussion. The horns build quite an edifice, strong and structurally sound. “Lick Skillet” goes off the beaten path for a spell with guttural sounds that bounce and fracture, saxophone gymnastics of pops ands slurs before the full band kicks in, making way for a spotlight for nimble light percussion and flute, Strong filling-rattling drumming opens “W.P.S.M.” then saxophones and drums develop a ripe and fun collective improvisation, followed by a section of guitar and saxophone with the drummer hot on their heels, very exciting. This is great stuff and the sense of enjoyment and exploration is palpable. Squalls of saxophone and guitar are intercut with bass solos, making wondrous music. Lundbom finally takes center stage on “Screamer” initiating full out guitar led onslaught. Horns punch brutally before laying out for a reverberating guitar feature, stretching out nicely abetted by strong drumming. There are breaks for a slower section of bass and saxophone before the full band returns for a strong conclusion. This was a tremendously fun and exciting album to listen to, where Lundbom continually challenges the listener and the band, getting great results in the process. <a href="http://www.amazon.com/gp/product/B00S2ARNFA/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00S2ARNFA&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=TCN34J7HAFAD72ER">Jeremiah - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00S2ARNFA" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/02/john-lundbom-and-big-five-chord.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-5598219318981581139Fri, 30 Jan 2015 01:36:00 +00002015-01-29T20:36:56.878-05:00King Crimsonprogressive rockrock and rollKing Crimson - Live at the Orpheum (DGM, 2015)<a href="http://2.bp.blogspot.com/-Z4A-A50NohY/VMrgHfhDywI/AAAAAAAAIL8/hgX_WS-GsKU/s1600/81vc2WHfZ1L._SX425_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Z4A-A50NohY/VMrgHfhDywI/AAAAAAAAIL8/hgX_WS-GsKU/s1600/81vc2WHfZ1L._SX425_.jpg" height="177" width="200" /></a>It was one of the biggest musical surprises of 2014 was to learn that Robert Fripp was re-forming King Crimson, and with a three drummer front line to boot. This is an LP length live album featuring the highlights of the band’s two shows at the Orpheum Theater in Los Angeles this fall. The three drummers could make for some tough sledding but they work well together and do not get in anyone’s way. The vocals of Jakko Jakszyk taking a little getting used to especially when he sings material from the Red album, as his voice is much different than John Wetton’s booming vocals on that album. After the walk on soundscape the group launches into one of those pieces, “One More Red Nightmare.” Slashing drums and guitar pack a wallop in addition to a fine sax break. “Banshee Legs Bell Hassle” is a light and spacious percussion piece reminiscent of an older King Crimson composition, “Larks’ Tongues in Aspic Part I.” A more recent composition is “The ConstruKction of Light” which is anchored by throbbing bass and drums with angular guitars playing off of the rhythm. Mel Collins is featured on flute and saxophone and acquits himself very well. An acoustic opening and dramatic vocal from Jakszyk usher in “The Letters” which heats up fast with guitars, saxophone and pummeling drumming. Collins is the secret weapon of the band and adds an appropriately raw saxophone to the proceedings. “Sailor’s Tale” develops a rumbling beat and an absolutely scalding guitar interlude before the band puts the pedal down and closes with full power. The album ends with one of King Crimson’s most stalwart compositions, “Starless” with its wide open beginning and emotive vocals giving way to slithering guitar and saxophone which slowly ramp up the pressure and intensity leading to an explosive payoff and majestic ending. This is but a sample of the music from the tour and at forty-one minutes in length it leaves the listener wanting more. This album serves as a postcard from their very successful American tour, hopefully with many more to come. <a href="http://www.amazon.com/gp/product/B00QJH5O9K/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00QJH5O9K&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=IEXMEDNQDRVRUJK6">Live At The Orpheum - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00QJH5O9K" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><div><br /></div><div>Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.</div>http://jazzandblues.blogspot.com/2015/01/king-crimson-live-at-orpheum-dgm-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-7784925924611660251Wed, 28 Jan 2015 01:34:00 +00002015-01-27T20:34:48.135-05:00BallisterDave RempisFred Lonberg-HolmPaal Nilssen-LoveBallister - Worse For the Wear (Aerophonic, 2015)<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-K0h2Sm1_oZU/VMg8ANsoh4I/AAAAAAAAILs/5RV5WfqJ9Cc/s1600/Unknown.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-K0h2Sm1_oZU/VMg8ANsoh4I/AAAAAAAAILs/5RV5WfqJ9Cc/s1600/Unknown.jpg" /></a></div>The wonderful free-jazz trio Ballister rings in the new year with another spectacular album, recorded in Chicago in March of 2014. The group is made up of Dave Rempis on saxophones,&nbsp;Fred Lonberg-Holm on cello and electronics and Paal Nilssen-Love on drums. Things get off to a mighty start with "Formax" which has a supercharged full band opening with the three of them improvising collectively in a telepathic manner. Things throttle back a little bit before there is a solo of raw, scalding saxophone followed by some equally raw-boned amplified cello. Lonberg-Holm is able to have space of another guttural opening toward the end and by now the band is fully in the zone and races to the finish. "Scutum" is opened with sawing cello and drums before a thoroughly epic trio section around the six minute mark that is epic and thrilling and represents the spiritual heart of the album. The feint to a slower section of abrasive saxophone, getting heavier by the second and then developing a collective improvisation of saxophone, drums and flinty plucked cello. The album is concluded with "Vulpecula" which has a loose opening with the group biding their time led by bowed cello and skittering drums before slowly ratcheting up to the intensity before finally giving way to gales of saxophone. This was an excellent album, and shows that this group has grown into one of the most exciting groups on the contemporary jazz scene. <a href="http://aerophonicrecords.com/ballister-worse-for-the-wear/">Worse For the Wear - Aerophonic Records.</a><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/01/ballister-worse-for-wear-aerophonic-2015.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-260685927397835257Sat, 24 Jan 2015 23:58:00 +00002015-01-24T18:58:32.902-05:00CAnprogressive rockrock and rollBooks: Can's Tago Mago by Alan Warner (33 1/3 Series)<a href="https://www.goodreads.com/book/show/21469009-can-s-tago-mago" style="float: left; padding-right: 20px;"><img alt="Can's Tago Mago" border="0" src="https://d.gr-assets.com/books/1408917081m/21469009.jpg" /></a><br />The 33 ⅓ series is a set of short books, each one taking an in depth look at a famous music album. In this case, the groundbreaking double album by the German progressive rock band Can, Tago Mago, which is one of the centerpieces of what the British cheekily called “Krautrock” and the Germans called “Kosmische.” Warner takes a roundabout way in talking about the album, preferring to place it in his own personal narrative, a coming of age story where the boy from a remote Scottish village is gradually exposed to more creative punk and new wave music and then discovers the music of Can from which there is no going back. After touching on the album in the beginning of his narrative, we timewarp back to rural Scotland in the mid-1970’s when Warner started listening to soundtracks and movie scores, gradually moving on to punk and heavy metal while scouring the NME and other music papers of the day. His interest in Can came from an interview with John Lydon in one of those magazines which sent him in search of the band’s albums in the little record store in his village. It is kind of quaint remembering the way music information was disseminated in the days before the Internet with slick music journals and underground zines leading you to search often in vain for some obscure LP. Warner is so obsessed in berating us with his own story that he doesn’t even begin to discuss the album in question until about ⅔ of the way through the book! To his credit, he examines the album in depth in a way that is easy for the non-musician to understand while also including interviews with a few members of the band, and his recollection of his first hearing has a breathless immediacy to it. So, it is recommended to fans of the album, just know what you are getting into: instead of juicy gossip and behind the scenes intrigue, you get the recollections of a self-absorbed fan. Caveat emptor. <a href="http://www.amazon.com/gp/product/B00P2E0RKW/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00P2E0RKW&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=OP4IZZENQLHKA6WA">Can's Tago Mago (33 1/3) - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00P2E0RKW" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/01/books-cans-tago-mago-by-alan-warner-33.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-295385087480575324Sat, 24 Jan 2015 04:47:00 +00002015-01-23T23:47:08.712-05:00Art BlakeyGary MappjazzMax RoachPercy HeathThelonious MonkThelonious Monk - Thelonious Monk Trio (Prestige, 1952-1954, Reissue 2007)<a href="http://1.bp.blogspot.com/-Sw6PzRRQe2c/VMMioI18z_I/AAAAAAAAILc/2j6TgYTLR6Y/s1600/611-6tSTWoL._SS280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Sw6PzRRQe2c/VMMioI18z_I/AAAAAAAAILc/2j6TgYTLR6Y/s1600/611-6tSTWoL._SS280.jpg" height="200" width="200" /></a>Pianist and composer Thelonious Monk was at a crossroads in his career when this album was recorded. The New York City police department had conspired to take away his cabaret card, which was necessary for performing live in New York City and he had not put out recordings in a few years. Monk had released a series of groundbreaking 78's for Blue Note, but this was his first LP length album. Supported by either Gary Mapp or Percy Heath on bass and either Max Roach or Art Blakey on drums, the album consists of some of his most well known compositions. The album has some of Monk's most familiar compositions like a riveting version of "Blue Monk" plus a witty solo rendition of "Just a Gigolo." "Bemsha Swing" gets a ripe and angular reading, with percussive keyboards battling the drums for supremacy, and Monk sounding quite avant-garde, with a repetitive strong section. One can just imagine Cecil Taylor taking notes. He is wonderful on "Little Rootie Tootie" playing snatches of the melody and then batting them down with three banging chords. "Bye-Ya" takes advantage of some great rattling and ramshackle drumming to make a fun and exciting performance. Some moaning scat punctuates a fine version for "Trinkle, Tinkle" and again it is the way that Monk engages with the drums that make the track all the more special. This is a wonderful album, and it is very interesting to hear Thelonious Monk in this trio setting and it is the empathetic support that throws Monk's idiosyncratic genius into bold relief. <a href="http://www.amazon.com/gp/product/B000UB335S/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000UB335S&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=Z3LWO4JUYR5G6N6T">Thelonious Monk Trio [RVG Remaster] - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B000UB335S" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/01/thelonious-monk-thelonious-monk-trio.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-2615408907201116963Sat, 17 Jan 2015 02:56:00 +00002015-01-16T21:56:13.754-05:00free jazzjazzThe Ames RoomThe Ames Room - Struggling In Public (Norwegianism Records, 2014)<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-wIsUmc_EtL8/VLnO-SO5BHI/AAAAAAAAIKY/IzrhH7euxns/s1600/ames.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-wIsUmc_EtL8/VLnO-SO5BHI/AAAAAAAAIKY/IzrhH7euxns/s1600/ames.jpg" height="200" width="200" /></a></div>The Ames Room is a powerful free jazz trio made up of&nbsp;Jean-Luc Guionnet on alto saxophone, Clayton Thomas on bass and Will Guthrie on drums. This album consists of four tracks recorded live in different cities from 2011 - 2014. It is a powerful statement not only of the bands prowess and control of a wide open form of music but their empathy for each other. "Theatre Kapelle" was recorded in Berlin in 2011 and it a short burt of energy music that cuts off abruptly as if the band had spontaneously combusted. "The North Terrace" recorded in Newcastle in 2013 is another relatively short performance and they act as palette cleansers for the music longer tracks like the 20 minute + epic "Cafe Oto" which was recorded at that legendary venue in 2013. This trio has no fear and they are able to spool this lengthy performance with little thought of anything but playing completely in the moment. The closing "Le Rigoletto" from Paris in 2013 is the same way developing a truly collective improvisation where each member of the band is truly free to introduce ideas that allow the music to progress ever further. This band has flown below the radar for several years now and hopefully this fine album will win them some much needed attention. <a href="http://norwegianismrecords.bandcamp.com/album/struggling-in-public">Struggling In Public - Bandcamp</a><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/01/the-ames-room-struggling-in-public.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-200621011264417955Tue, 13 Jan 2015 21:12:00 +00002015-01-13T16:12:58.323-05:00CreamEric ClaptonGinger BakerJack Brucerock and rollCream - 1966-1972 (Universal, 2014)<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-KYwuJ_rNfEI/VLWJVVoucXI/AAAAAAAAIKI/CcxwGIpG2TI/s1600/cream.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-KYwuJ_rNfEI/VLWJVVoucXI/AAAAAAAAIKI/CcxwGIpG2TI/s1600/cream.jpg" height="200" width="200" /></a></div>Cream, consisting of Jack Bruce on bass guitar and vocals, Eric Clapton on guitar and vocals and Ginger Baker on drums was one of the first rock 'n' roll super groups, a band whose virtuosity shot them to fame before acrimony and infighting brought them crashing down just a few years later. In-between there were three studio albums, and two live albums that were released posthumously. <i>Fresh Cream</i> introduced the band in 1966, mixing well thought originals like "I Feel Free" and "N.S.U." with a wide array of blues covers ranging from Muddy Waters to Skip James and Robert Johnson. 1967's&nbsp;<i>Disraeli Gears</i> found the band coming into their own and embracing the psychedelia of the summer of love and swinging London. They had several hits on this album which wedded their muscular approach to a pop sensibility on tracks like "Strange Brew" and "Tales of Brave Ulysses" while still making time for their roots on "Outside Woman Blues." 1968's <i>Wheels of Fire </i>was another first, a two record set that focused one LP on their studio work and another on their live performance from the Fillmore auditorium. It's a wide ranging affair from Ginger Baker's bizarre spoken word "Pressed Rat and Warthog" to the blistering single "White Room" and a confident performance of the blues standards "Sitting on Top of the World" and "Born Under a Bad Sign." The live album features Eric Clapton's famously blistering version of Robert Johnson's "Crossroads", The harmonica blues blowout "Traintime" and lengthy jams on Willie Dixon's "Spoonful" and Baker's epic drum feature, "Toad." Things were fading fast with the release of the appropriately titled <i>Goodbye Cream</i>. Mixing live versions of Skip James' "I'm So Glad" and Bruce's brooding "Politician" with studio material lead by Clapton's pop song "Badge." After the group had formally broken up in early 1969, there were two albums of live material released in 1970 and 1972. This makes sense not only as a cash in but because the group was at their most ferocious when playing live. They tear through the blues standard "Rollin' and Tumblin'" and some originals on <i>Vol. 1</i>, while <i>Vol. 2</i> sported surprisingly concise readings of some of their original material featuring some of the band's hits, "White Room", "Tales of Brave Ulysses" and "Sunshine of Your Love." This boxed set contains all of Cream's output during their earlier years, without the innumerable complications that would follow in addition to an improbable reunion concert and collection in 2005. The vinyl records are well pressed and quiet, and the original album covers are faithfully reproduced. Unfortunately there is no booklet of liner notes and photos, but a fan of the band with a penchant for vinyl will certainly overlook this. <a href="http://www.amazon.com/gp/product/B00MWI6QC4/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00MWI6QC4&amp;linkCode=as2&amp;tag=jazandblumusr-20&amp;linkId=UWWSBZ5SHJOOUBU7">Cream: 1966-1972 (LP box set) - amazon.com</a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=jazandblumusr-20&amp;l=as2&amp;o=1&amp;a=B00MWI6QC4" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/01/cream-1966-1972-universal-2014.htmlnoreply@blogger.com (Tim Niland)tag:blogger.com,1999:blog-5830909.post-6941358190166065242Fri, 09 Jan 2015 02:40:00 +00002015-01-08T21:40:32.911-05:00Frank Lowefree jazzjazzJoseph BowieRashied AliSteve ReidWilliam ParkerFrank Lowe - Out Loud (Triple Point Records, 2014)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-N4khVTRahr4/VK8-k9OFP-I/AAAAAAAAIJ4/rbUNiOWAfKQ/s1600/OUT_LOUD.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-N4khVTRahr4/VK8-k9OFP-I/AAAAAAAAIJ4/rbUNiOWAfKQ/s1600/OUT_LOUD.jpg" height="190" width="200" /></a></div>American saxophonist Frank Lowe was a musician that slipped through the cracks somewhat in jazz history, scuffling for recording opportunities and gigs and then dying far too young. Originally from Memphis and deeply influenced by the soul and rhythm and blues sounds of the day, he then moved west to San Francisco studying informally with the great alto saxophonist Sonny Simmons. Chewed up by the meat-grinder of the Vietnam War, Lowe surfaced in New York City in the early 1970’s, recording with drummer Rashied Ali and making his debut as a leader with <i>Black Beings</i> on the ESP label in 1973. The music on this two LP set, recorded in 1974, represents what Lowe intended to be his second album. The music was recorded live at Sam Rivers’ Studio Rivbea loft and at the Survival Studio in the company of Joseph Bowie on trombone, William Parker on bass and Steve Reid on drums. The music is strong free jazz, with everybody blowing hard, sometimes losing their way then coming back together – they really had to trust each other to make music in such an open-minded formation. The music that was recorded at the loft and makes up the second record of this set is emblematic of the music, with two sidelong blowouts of music, one untitled, and one appropriately entitled “Whew!” This is a beautifully packaged set, with two very heavy LP’s in a classy looking strong cardboard sleeve and a lengthy booklet of notes and essays by free-jazz authority Ed Hazell. It is an expensive set of music, but for fans of free jazz and the 1970’s loft scene in particular, it is definitely something to consider. <a href="http://www.triplepointrecords.com/">Out Loud - Triple Point Records</a><br /><br />Send comments to <a href="mailto:timnil@gmail.com">Tim</a>.http://jazzandblues.blogspot.com/2015/01/frank-lowe-out-loud-triple-point.htmlnoreply@blogger.com (Tim Niland)